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Copyright Quest'opera è di pubblico dominio. Pieter de Hooch è morto nel 1694; il copyright scade 70 anni dopo la morte dell'artista, pertanto è terminato nel 1764.
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The Greeting — Pieter de Hooch
Le dimensioni originali sono 111 × 96 cm (altezza × larghezza), qui rappresentate accanto a un adulto di statura media.
Riga superiore: gli anni. Riga inferiore: l'età dell'artista all'inizio e alla fine di ogni periodo — 0 alla nascita, 65 al momento del decesso.
Dipinto all'età di 46 anni. L'artista è vissuto fino a 65. 105 delle 116 opere datate di questo artista nel nostro catalogo sono precedenti.
Shaded: la vita di Pieter de Hooch (1629–1694) ▲ quest'opera, 1675 ogni dipinto datato, decennio dopo decennio
Prime opere: fino al 1658 Anni di attività principale: 1658–1665 Opere tarde: dal 1665
Queste tre fasce suddividono le opere datate in questo catalogo in un primo quarto, una metà centrale e un ultimo quarto. Non rappresentano l'intera produzione dell'artista: un periodo di scarsa attività potrebbe essere una lacuna nei registri piuttosto che un momento di minore prolificità. Gli stessi anni che hanno scandito la vita dell'artista
Scegli un'opera tra quelle sopra elencate: indica due elementi in comune con quest'ultima e una differenza.
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Misurato dall'immagine
Colore principale
Phthalo Green #251d13
Tavolozza catalogata
Questi colori all'interno dell'intera tavolozza dell'artista Scopri altri dipinti per colore
I dieci paesi principali
Trova i tre paesi più scuri sulla mappa. Il museo che custodisce questo dipinto si trova in uno di essi? Scrivi un motivo per cui persone lontane potrebbero ammirarlo.
Insieme, queste opere hanno attirato il 56,9% di tutta l'attenzione ricevuta dai dipinti di questo artista negli ultimi dodici mesi. Il catalogo contiene 148 opere di questo artista, di cui 67 sono state visualizzate almeno una volta. This painting ranks 24 of them, with 1,3% of that attention (200 visits). Lo stesso conteggio, mese dopo mese
Le barre misurano l'attenzione, non la qualità. Scegli l'opera in cima e questa: indica un elemento che potrebbe rendere un dipinto celebre al di là della sua maestria tecnica.
Informazioni sull'opera
The Greeting — Pieter de Hooch
Four elegantly dressed men and women, plus a brown and white dog, gather around a rug-covered table in a shadowy room in this vertical painting. The people all have pale skin and are lit from our left. The women have blond hair and wear long silk dresses, and the men have shoulder-length wavy hair. At the center of the painting and closest to us, a woman stands with her back mostly to us, her body angled away to our right. Her face is in shadow, but we see the tip of a delicate nose. Her hair is pulled to the back of her head, and a few touches of white paint suggest a ribbon or ornament there. She wears pearl earrings, a pearl necklace, and a four-stranded pearl bracelet on the hand we can see. Her pale, mint-green dress drops off her shoulders and has a tight bodice. Puffy white sleeves of her undershirt are gathered at her elbows under the short, bell-shaped sleeves of the bodice. Her skirt falls in shiny folds and pools on the floor. The fabric reflects cream white where the light strikes the satin, and the shadows are cool, faint green. The woman holds her right hand out and clasps the hand of a cleanshaven man on the right side of the table. He smiles as he looks at her with wide-set eyes in a round face. He wears a broad-brimmed hat. His brown jacket is tied with a red bow at his throat and is red where the cuffs are rolled back. The white shirt he wears beneath is visible at his neck and in voluminous sleeves at his wrists. The jacket is lined with shiny buttons down the front, and it opens across his hips over red pants. He holds a glass with amber-colored liquid up in front of his chest with his other hand. A man between the pair is deep in shadow in the background. He holds up one hand as he looks down and to our left, a faint smile on his lips. The fourth person, another woman, sits to our left on our side of the table. Her hair is gathered in bunches over each ear. She also wears pearl earrings and a necklace. Her dress is red over an ice-blue skirt, which has bands of gold down the front and around the bottom hem. She holds both hands up near the table, to our right, as she looks down at the dog in the lower left corner of the composition. The dog has brown and white spots, a feathery tail, long brown ears, a white muzzle, and it stands tensed, its head lowered a little as it looks up toward the table. The rug covering the table is patterned with crimson red, black, and tan. A silver dish holds an orange-colored piece of fruit at the front right corner of the table. A landscape painting hanging on the back wall behind the group is framed in architectural molding. Details are difficult to make out in the shadowy background but there seems to be an olive-green screen behind the seated woman, with a piece of cloth, perhaps a coat, flung over the top. The floor is tiled with brown and white squares. The artist signed the work as if a coat-of-arms over the landscape painting is painted partially with his name: “P HOO.”
Artista e museo
Nato a Rotterdam, Paesi Bassi
Pieter de Hooch, a name synonymous with the quiet intimacy of Dutch domestic life, was born in Rotterdam on December 20, 1629. His origins were humble; his father, Hendrick Hendricksz de Hooch, was a skilled bricklayer – an artisan whose craft instilled a keen eye for detail and structure within his son. Pieter’s mother, Annetge Pieters, contributed her expertise as a midwife, shaping his understanding of human experience and the rhythms of daily existence. Little is definitively known about his formative years, but it's believed he received his initial artistic training in Haarlem under the tutelage of Nicolaes Berchem, a landscape painter whose influence subtly shaped de Hooch’s early style. This period laid the groundwork for his future success, introducing him to the principles of composition and color that would become hallmarks of his work. The connection with Jacob Ochtervelt, another prominent Haarlem artist, further broadened his artistic horizons. De Hooch's upbringing in a working-class environment instilled a deep appreciation for the realities of everyday life – a perspective he would later translate into his captivating paintings.
De Hooch’s career truly blossomed in Delft, where he established himself as a leading figure within the city’s thriving artistic community. His style is instantly recognizable—a masterful blend of realism and subtle lyricism that captured the essence of Dutch bourgeois life. He specialized in “kamergezichten,” or room views, depicting scenes of women engaged in domestic activities: preparing meals, sewing, receiving visitors, or simply enjoying quiet moments with their children. These weren’t grand historical narratives; instead, they offered intimate glimpses into the lives of ordinary people—a remarkable departure from the heroic subjects favored by many of his contemporaries. His use of light is particularly noteworthy – a delicate interplay of shadows and highlights that creates a sense of atmosphere and depth within each scene. De Hooch skillfully employed muted colors and subtle details to evoke a feeling of tranquility and realism, drawing inspiration from both Jan Vermeer’s meticulous observation of light and shadow and the atmospheric techniques of Rembrandt van Rijn. The influence of Emanuel de Witte, another Delft painter, is also evident in his later works, particularly in the use of architectural settings.
Among de Hooch's most celebrated paintings are “The Empty Glass” (circa 1650), a deceptively simple scene that reveals an extraordinary sensitivity to light and form; "Woman Nursing" (1658) and "Woman with a Baby on Her Lap" (1658), which capture the tenderness of maternal love; and “Cardplayers in a Sunlit Room” (1658), a vibrant depiction of social interaction within a domestic setting. His work from the mid-1660s, particularly “A Woman Preparing Bread and Butter for a Boy” (1661) and "The Merry Drinker" (c. 1650), showcases his ability to create compelling narratives through subtle gestures and expressions. Later in his career, influenced by the trends of the time, de Hooch began incorporating more elaborate settings—marble rooms from the new Amsterdam Town Hall—offering a grander stage for his subjects. Despite these shifts, he retained his signature style and attention to detail, producing works like “The Clothes Cupboard” (1667) and "The Minuet" (1680), which demonstrate his continued mastery of light, composition, and human emotion.
Pieter de Hooch’s impact on the course of Dutch painting is undeniable. He stands as one of the most important figures in the Delft School, a movement characterized by its focus on domestic scenes and realistic depictions of everyday life. His work profoundly influenced subsequent generations of artists, particularly those who followed in the footsteps of Vermeer—artists like Jacob van Ruisdael and Frans Hals. De Hooch’s legacy extends beyond his individual paintings; he helped to establish a new genre of painting that celebrated the beauty and dignity of ordinary people. His meticulous observation, subtle use of light, and intimate portrayal of domestic life continue to resonate with viewers today, cementing his place as a master of Dutch Golden Age art. His works are now housed in prestigious museums around the world, including the Koninklijk Museum voor Schone Kunsten in Antwerpen, Belgium, where a vast collection of European art from the 15th to the 20th centuries offers a comprehensive view of his artistic journey.
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Un dettaglio ravvicinato
The Greeting — Pieter de Hooch
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Pieter de Hooch ha realizzato "The Greeting" all'età di 46. L'artista è nato nel 1629 e l'opera risale al 1675.
L'originale "The Greeting" di Pieter de Hooch misura 111 x 96 cm.
La pagina Anteprima in AR di "The Greeting" di Pieter de Hooch utilizza la realtà aumentata per visualizzare l'opera d'arte nel tuo spazio, tramite un dispositivo compatibile.